This paper investigates the current position of visual arts practice-based research within the qualitative landscape. The writing is rooted in the thesis that “the imaginative and intellectual work undertaken by artists is a form of research” (Sullivan, 2005, p. xi). Prior to Frayling’s deliberations in 1993, practice-based research was a peripheral practice, silenced by exclusionary hegemonic tendencies in academic scholarship. Ideological deposits of these biases remain evident in the language and practices of academia. Critical theoretical scholarship from historically silenced groups and disciplines has acted as a catalyst to the re-visioning and positioning of practice-based research within the qualitative arena. This re-visioning has resulted in a shift towards discourse-centred and pluralistic epistemologies, those ways of knowing that propel practice-based research in the visual arts.
|Keywords:||Visual Arts Practice-Based Research, Arts-Based Research, Qualitative Research, Pluralistic Epistemology, Discourse|
Doctoral Student, Art Education, Department of Curriculum & Instruction, University of Victoria, Victoria, British Columbia, Canada
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